Venue 401

Adrianne Lenker at Barbican Hall

arts

The End: Nicolas Ruston’s Incredible Project, Adrianne Lenker at Barbican Hall, One Man Two Guvernors – A Review. 3

Why hello and welcome to our final issue of the academic year, and my final issue as Venue’s Co-Editor. I’m currently in my own little bubble of stress, so it hasn’t really hit me that I’m in my final weeks at UEA. But it turns out the old cliché is actually true – university really does go by in the blink of an eye. It’s probably a bizarre statement as it’s summative season, but this really is my favourite time of the year at UEA. The sun makes an appearance (we can hope), bluebells are in full bloom, students fill the steps in The Square and people lay on picnic blankets dotted around the lake. Good vibes pour through the stress.

I’d like to use my final editorial as a space to give out a few thank yous. Firstly, a thank you to our lovely Section Editors. I’ve loved seeing you all settle into your roles, and really make them your own. The content you provided has made for a really brilliant year of Venue Secondly, to all those who contributed to writing for Venue, I’ve loved reading all your great articles, so a massive thank you for getting involved. So much hard work and talent has gone into each issue.

My final thank you is saved for my Co-Editor, Tee. When I found out that I had been given this role, last year’s editor Louise gave me a piece of advice – become friends with your Co-Editor. Little did I know that my personality doppelgänger had been hired as the other Co-Editor. We instantly hit it off, and amidst a summer of designing Venue, were long text conversations about anything and everything (one of them was rating our top ten biscuit choices). Not only is Tee insanely talented at designing and editing, but she also has a skill for aestheticising anything. I will fondly treasure memories of staying in the Media Office late into the evenings with Tee to work on Venue. Tee brightened these evenings full of work with flasks of hot chocolate, peppermint tea and M&S cake. You have genuinely become my rock, and I am so happy to have not only found a brilliant Co-Editor, but also a lifelong friend <3

Please enjoy all the hard work that has gone into our final issue of the year, and take care of yourselves during this hectic period. Millie x

from Venue’s co-editors - Millie Smith-Clare @millie.s.c | she/her

Where does the time go?!

The picture of me and Millie on the right was taken just before the ‘Big Meet’, both nervous but excited as we began finding our feet in our roles as Venue Co-Editors. Now, we’re seven issues on, and it’s time to say goodbye. Like many of you graduating, there’s lots of goodbyes on the horizon for me – once I’ve written my dissertation over the summer and graduated my MA, I’ll be saying goodbye to ‘education’, this time for good. Having spent the last four years travelling to and from UEA, it will be strange to close this chapter of my life. But one of the hardest chapters to end is this one, saying goodbye to Venue, and working with such a wonderful team across Venue and Concrete. I’m so proud of what we’ve created over this year. There has been some incredible articles published, beautifully designed lay-ups, and lots of laughs along the way. To our writers and the whole editorial team – thank you for all your hard work this year!

I’d also like to send the biggest thanks to my co-editor, Millie. Over many chai lattes, craft evenings, and chats (about literally anything and everything), we have become the best of friends, and I couldn’t be luckier to have shared the Venue editor role with Millie. She’s incredibly talented as both a writer and editor, and even through she’s faced some difficult times over the past year, there has not been a moment when she hasn’t been amazing with Venue. She has the kindest soul and a heart of gold, and as she said too, I’m very glad to have found a friend forever <3

Good luck with everything, and have a wonderful time in the summer ahead of us! If you’re still going to be at UEA next year, make sure you look out for section editor roles and writing opportunities towards the end of the summer.

All the best, Tee x

books

In Conversation with Theo Parish – An Interview with Local Author and Illustrator on the Publication of their Graphical novel, Homebody, Diary Writing: A Short History of ‘Why’.

creative writing

Where’s The Tinfoil?, Complete, Letter from a Distant Goverment, Pebbles.

(This issue’s Creative Writing prompt was ‘What Angers You?’)

fashion

Norwich: Fashion on the Map, What’s in for Summer?, Met Gala: The Garden of Time.

film

American Graffiti – One Last Night, The Iron Claw: A Devastating Glimpse into Brotherhood, Grief and the World of Pro-Wrestling, Challengers (2024) Tennis, Sex, Power and Grief, Getting Involved with Film at UEA.

tv

Britain’s Best Sitcoms, Baby Reindeer: The Consequences of Adapting Real Stories, The Constructed Personas of Reality TV. 18

music

21

The Tortured Poets Department Review, Roots and Dances Review: A spectacular evening of music from the UEA Symphony Orchestra, UK Music Festivals: What is Going Wrong?

what’s on

24

Find all the details on the much anticipated return of the Norwich & Norfolk Festival, what’s on at Norwich Theatre Royal, local gigs and more!

our section editors

arts editor: Lily Glenn @lilyglenn1 | she/her

arts editor: Sara Budzinska @_sarabudzinska_ | she/her

books editor: Sophie Handyside @maysbooks | she/they

creative writing editor: Will Muncer @will_writes_stuff | they/them

fashion editor: Caitlin Bennett | she/her

film editor: Ore Adeyoola @oreadeyoola | she/her

tv editor: Lucy Potter @lucyclairepotter | she/her

music editor: Lily Taylor @lilypt27 | she/her

arts editors: Sara Budzinska & Lily Glenn

The End: Nicolas Ruston’s Incredible Project

By Sara Budzinska

Nicolas Ruston, born in Epping, Essex in 1975, is an artist and founder of the advertising agency called Robot Mascot. He works locally in Norwich, as well as in London, after a three-year apprenticeship under sculptor John Warren and after graduating from De Montford University. He is mostly known for his silicone and mixed media works exploring artificial manipulation. He was even nominated for the 2009-2010 European Art Prize and is exhibited internationally across multiple private and commercial collections.

As summative season looms and the academic year 2023-2024 slowly draws to a close, endings are certainly on everyone’s mind, even for those who aren’t looking forward to graduating. In the summer of 2016, Ruston crafted an absolutely incredible collaborative project with an intense focus on ‘The End’, and it raises some very intriguing thoughts about the whole ordeal.

The project involved Ruston creating fifteen different paintings which are all, in his own words, “trapped behind a frame; the figurative element suffocating behind its End.” Writer and editor Ashley Stokes (born in 1970 in Carshalton, Surrey and who actually has an MA in Creative Writing from UEA) then commissioned and curated fifteen stories from fifteen different

writers to go along with each painting. The writers had complete control over their interpretation of the paintings and Ruston was not able to influence their methods of decoding his work.

Ruston’s paintings themselves are quite ambiguous, although his intended genre is occasionally implied in the typography or figurative nuance. The entire series of paintings echoes the look and feel of stills from ending title sequences seen more commonly in older movies. It is a very unsubtle choice, as every single painting literally spells out ‘The End,’ reminding us of an age in which it was necessary to explicitly mark an ending.

The final presentations of ‘The End’ included an exhibition of the wall-mounted paintings on canvas, as well as the final lines of the short stories. Following from this, ‘The End’ was turned into a book: The End: Fifteen Endings To Fifteen Paintings, published by Unthank Books in August 2016. The whole project was even turned into performances and book launches. Ruston’s blending of different artistic mediums really breathes life into the project, coming together to create a unique idea – certainly one that is not seen in mainstream media very often. It’s interesting to note how each artistic form can amplify differing aspects of the same concept, sometimes presenting it from an entirely differently angle and

sometimes mirroring it in an identical manner. In fact, it was indeed Ruston’s intention to examine the notion of ‘The End’ by exploring how an art form can operate through different media, and the changes that take place when one group of artists interprets the others’ form.

For the duration of ‘The End’s’ display, the writer’s interpretations of Ruston’s artworks were the sole ‘truth’ guiding the publics reflections and thus on some level, influencing and manipulating their opinions. It is truly bizarre to think how many of our ideas are our own, how many are original and how many have been tainted or marked by all the external information we consume. This is not to say, however, that all suggestions or inferences from outside sources are negative ones. For instance, the paintings being both the start and end of the stories suggests, in a way, that endings have a very cyclical nature.

An ending is perhaps just a new beginning, and what a brilliant message that is to end this year with.

PHOTO CREDIT: UNSPLASH

Adrianne Lenker at Barbican Hall

By Lily Glenn

Adrianne introduces her second song of the night, ‘Baby Honey Sweetheart Darling’, as the lights behind her transition from aquarium-blue to the burnt orange of an autumn sunset. The audience chuckles as she pronounces ‘darlin’’ with a soft drawl and a smile, taking a sip from the mug of water next to her. She’s sitting alone on a wooden chair and using a classical footrest. On either side of her is a piano and a violin that Nick Hakim and Josefin Runsteen will play for the second half of the set, but for now she is accompanied only by two small lava lamps perched quaintly on the edge of the stage. She makes it about a line into the song before clearing her throat and laughing slightly as she says, ‘Maybe it’s higher,’ moving her capo down a fret.

Surprisingly varied in age, though mostly 20-somethings, the audience hangs on Adrianne’s every word. On stage, she speaks softly and talks to us as if we are not strangers, making jokes about how long it takes her to re-tune her guitars every couple of songs and about how ‘Bright Future’ was taken off her new album, despite sharing a title. Tonight, the energy in the Barbican Hall is deeply emotive.

We cheer enthusiastically between every song, with the number of whistles and whoops increasing down the setlist. There are a few songs where the applause just won’t die; every time, Adrianne looks surprised and quietly says ‘Wow, thank you.’ and remarks upon how special the evening is. As Adrianne, Nick, and Josefin walk off stage before the encore, we give them a unanimous standing ovation and thunderous applause that makes Adrianne pause, standing on the edge of the stage and shielding her eyes from the spotlights to see the audience’s praise properly. The applause does not waver until they return for the encore.

The formality of the atmosphere created by the concert being seated meant the audience doesn’t sing throughout the show, but during the encore, Adrianne invites us to join in with ‘anything’, the penultimate song; initially tentative, a choir of gentle voices emerges from those brave enough, filling the room with a sense of safety and beauty that I have never felt so strongly at a concert. I hear at least three people sniffling quietly during ‘Real House’, the final song. By the end of the show, I can’t help but feel a bittersweet connection with everyone as we wipe our tears and filter out into the cold, rainy night, towards the fluorescence of various tube stations.

Setlist - 27th April 2024

Adrianne solo two reverse

Baby Honey Sweetheart Darling (unreleased)

Two Hands (Big Thief song)

Pretty Things (Big Thief song)

Born For Loving You (Big Thief song)

Kerina (Adrianne Lenker & Buck Meek song) my angel

The Only Place (Big Thief song)

Adrianne, Nick Hakim, and Josefin Runsteen

Oldest (Big Thief song) (Scrapped from Bright Future)

Bright Future (Scrapped from Bright Future)

zombie girl

heavy focus

No Machine not a lot, just forever symbol Sadness as a Gift

Encore anything

Real House

One Man Two Guvnors – Review

By Sara Budzinska

Last term I had the joy of seeing the Minotaur Theatre Company’s One Man Two Guvnors and as someone whose preferred genre isn’t usually comedy, I was pleasantly surprised by how much I actually audibly laughed. Not to mention, I was wildly impressed by the quality of the acting.

The opening tableau with the room split into three areas with three different conversations occurring simultaneously was really well executed. Admittedly, the accents took me a second to get used to, however this just points to the great job the actors did with them. The comedic timing and facial expressions were on point the entire time.

In particular Joe McCloskey, who played Francis Henshall, was absolutely phenomenal. During one of the early scenes, he skilfully caught popcorn in his mouth, multiple times might I add, and his charisma caught the audience’s attention and affection. Furthermore, the audience participation felt natural and was genuinely entertaining. I loved how easily he broke the fourth wall, for example in one of the scenes when he commented that during a previous performance, he actually missed the bin while throwing an item into it. Considering the bright spotlight on the bin and soft angelic music accompanying the moment, this revelation elicited a lot of laughter from the audience.

Todd Bell, who played Alan Dangle, also had some incredible body language throughout the performance, as did the character of Alfie, played by Lucy Matthes, who was clearly another audience favourite. In terms of physicality, the fight scene was one of the best I’ve seen; the intensity, drama, and exaggeration, rolling on the floor etc. really had me on the edge of my seat (if they had to write a risk assessment for this production it must have been a nightmare).

I also absolutely adored the scene with the fake chest hair plate - I thought that, because it was slightly cheaper looking with painfully obvious mismatched black straps, the

comedy was amplified.It was the same with the planted actor, until they hit his face with a pie and accidentally ‘electrocuted’ him, I had no suspicion of him being part of the cast.

Last by not least, I found the music choices enjoyable and thought the moments of silence were well chosen. The lighting choices further matched the atmosphere on stage and enhanced the performance. These technical elements masterfully underpinned the brilliant acting and made this production a true success.

A Farewell From Our Arts Editors Lily and Sara

Being the Arts Editor this past year has been an absolute honour. I’m so greatful I got to be a part of this incredible team and provide a space for some amazing writers to express their passion for the Arts. I’ve met so many wonderful people and learned so much (especially how badly we need new computers). I really hope to write some more articles while I’m still here but (shameless promo) I’ll be very busy being President of Burlesque and playing rugby while also maybe… just maybe, doing what I actually came here to do and finishing my degree! I’ll miss Venue tremendously! - Sara

Thank you so much to everyone who wrote for our section this year! It’s been a blast to be on the Venue team and I’ve had a brilliant experience getting to write and edit so many articles and design our section both visually and content-wise for each issue. To have the chance to produce something as exciting and varied as Venue as part of a collaborative effort has been so rewarding. I’d really encourage anyone to apply who is interested in trying out or getting more experience in journalism and just the writing world as a whole.

- Lily

books editor: Sophie Handyside

In Conversation with Theo Parish

An Interview with Local Author and Illustrator on the Publication of their Graphical novel, Homebody.

By Sophie Handyside and Stephanie Alexandria Rivers

Theo Parish’s debut novel, Homebody, is a heart-warming graphic memoir about the journey one goes on to find themselves at peace in their body. Our storyteller, Theo, takes us on a woodland stroll while reflecting on the challenges and joys they experienced on their trek of self-discovery as a trans person in flashbacks. Their pastel colour scheme, evocative of the trans flag, creates a pleasant palette whilst the narrative tackles the tough but rewarding journey many trans people find themselves facing.

Alice Oseman, author of Heartstopper calls it,

“An uplifting, hopeful, empowering memoir that celebrates self-discovery and self-love.”

The memoir is easily accessible to transgender and cisgender friends alike and shines light on many unappreciated joys of trans life whilst not shying away from some key anxieties many face. Theo brings us a much-needed positive tale that celebrates trans joy.

We have an incredible base of LBGTQ+ people here in Norwich; you reference that “being around lots of creative people, expressing themselves in all kinds of ways” at NUA helped you feel like it was “okay to be more open”. As a Norwich local, do you feel that living here has influenced your experience as a trans author and illustrator?

Absolutely! Norwich has an amazing community of LGBTQIA+ people and a lot of creatives, with a massive amount of overlap between the two. Which is why I never left Norwich after graduating! I get a lot of inspiration from other queer artists and it’s great to live in a place that feels supportive and has a real sense of community.

Graduating from NUA with both undergraduate and postgraduate degrees in Games Art and Design, what made you decide to move to publish a book?

I’ve always been someone who has had many interests in terms of both the art I consume and the things I want to create. I had a lot of trouble deciding what degree I wanted to do actually, because I really just want to do everything! Ultimately, I think the thing that translates through all of the things I’m interested in is >

PHOTO CREDIT: SOPHIE HANDYSIDE

PHOTO CREDIT: SOPHIE HANDYSIDE

< a love of storytelling in all forms. Right now that happens to be graphic novels, but in the future who knows!

You use a colour scheme associated with the trans flag: What was your decisionmaking process for that, and were there other stylistic influences in your art?

I really enjoy using a limited palette, I think there is something really interesting about operating artistically within a constraint. Ironically, I find it allows me to feel more free to be creative and to think outside the box. For the colouring process I was inspired by the printing process of risograph, which is a printing technique somewhere between screen printing and digital print. The image is printed in layers one colour at a time, so if two colours are layered they will create a third depending on the opacity. Using this sort of technique I was able to get a variety of tones despite only using a two colour print. Using the colours of the trans flag seemed like the obvious choice really!

You use homes and footpaths as a running theme throughout, what led you to focus on these metaphors?

The metaphor that started Homebody was something that I had thought of when trying to find a way to express the relationship I have with my body, as someone who is transgender. The idea that there is a difference between a house and a home, we are all grateful for a house but it’s not until you make it your own comfortable space that it feels like home. I also think that the feeling of coming to know, understand and accept yourself is a kind of homecoming for queer people. And although this metaphor is aimed at LGBTQIA+ people, I think everyone can identify with the process of figuring out who you are, cultivating a positive relationship with your body and figuring out how you want to express yourself to the world. Paths were something that I

wanted to focus on because I think it’s important to acknowledge that there are so many different ways to be transgender or non-binary and we all go on our journeys slightly differently, even if we end up at the same destination as someone else, we likely took a different path to arrive there.

If you could describe Homebody as a food, an animal, and a smell, what would it be?

Hmm... good question! I think if Homebody was a food it would have to be something warm, comforting and sweet like maybe apple crumble? Animal would probably be a cat, because it’s soft, loving and happiest when it’s doing its own thing. (Also because I’m biased and I love cats). The smell would probably be similar to the food answer, like that amazing smell when you’re baking something delicious and it fills the whole kitchen.

What was it like translating yourself into the book?

There was an amount of emotional drain because it is a thing that is so personal and about me, so I guess it was harder to disconnect from it in the way that I might be able to if it was purely fictional, and these were just characters I was writing about. It’s been really nice to write something so personal as it’s allowed me to really express and work through and process a lot of the feelings I have, and be able to put these out into the world. I’m not someone who is very good at talking about their feelings, so a lot of the feelings in the book have never left my brain before. I think it has been a really good therapy experience *they laugh* to get all of those things out of my brain, put them on paper to process them, and then send them out to the world…away from me!

*Charlie, Theo’s editor with Macmillan, reponds* …and into my inbox!

Your dedication, “For you, whenever and however you need it”, touched me, and I’m sure for a lot of others too. What would you say to a young 13-year-old embarking on their own journey of self-discovery?

It’s okay to take your time, there’s no rush to figure it all out. There will be times when you’re confused or unsure and that’s okay. Find the people who love and accept you for who you are, exactly as you are, you don’t have to change anything about yourself to be liked. Instead of trying to figure out what other people want or expect you to be, focus on being the person that you want to be and the rest will fall into place.

Find Theo’s graphic novel, Homebody, out now in bookstores!

What Are Our Editors Currently Reading?

Millie is Currently Reading: The Yellow Wallpaper by Charlotte Perkins Gilman

With it currently being summative season, the idea of reading for pleasure is a distant memory. However, I have wormed one of my favourite novels into my summative for the Feminist Writing module. This short story depicts an unsettling narrative told by a nameless woman confined to an attic nursery, who is dealing with severe mental illness after the birth of her child. Gilman’s description of what the woman sees in the yellow wallpaper still sends shivers down my spine!

Tshequa is Currently Reading: The Emperors Babe by Bernardine Evaristo

As with Millie and Sophie, I too am reading for my essays. I can only dream of reading outside of uni related books!! However, The Emperors Babe, which I’m currently re-reading, is an amazing book set in Roman Londinium, and explores the more recent DNA evidence of Black people in Roman London - disproving the accepted narrative that Black people only arrived in large numbers from the 1940s. There’s a lot of interesting context which I can’t fit in here, but definitely worth a read!

Sophie is Currently Reading: The Woman of Colour

With my final year drawing to a close, and summative season stealing all of our free time, I’ve fallen into the habit of skipping seminars to work on deadlines. It wasn’t until my lecturer reminded us that our essays needed to compare three books, I realised they were three books I hadn’t yet read. I’m currently reading (catching up on) The Woman of Colour, an anonymous epistolary novel, following the daughter of a Jamaican plantation owner on her voyage across the Atlantic to marry her English cousin. With the joys of comparing it to Jane Austen’s Northanger Abbey and Charlotte Bronte’s Jane Eyre, I look forward to uncovering what made this novel so groundbreaking.

PHOTO CREDIT: SOPHIE HANDYSIDE

Diary Writing: A Short History of ‘Why?’

By Fiona Hill

Afew weeks ago I met a very interesting old man.

Working as a waitress in the suburbs of Norwich this is not an unusual occurrence, some interesting old men and women abound, so much so that it can often be quite difficult to get any waitressing done. However, the conversation I had with him was particularly poignant to me because it concerned the matter of diary writing. As someone who has kept a diary regularly for over a year now, I find myself carefully attuned to their being mentioned and in particular why people keep them.

‘It is the biggest waste of time in the world’ the old man declared, ‘but I can’t help it!’. Still, I knew that he couldn’t be completely truthful, for he had spent the last ten minutes detailing his extensive collection of leatherbound diaries, dating back to Churchill’s funeral in 1965. His wife seemed less enthusiastic and gave me a wry smile. Then again, perhaps she just wanted to eat her roast chicken...

Today diary writing is more common than most people would expect. One reason for this is the increased awareness of the mental health benefits that come from taking introspective time for yourself. By externalising events and emotions, it is no surprise that they become easier to understand.

For example, when writing, diaries become the perfect listeners, and on reading they become the perfect advisors.

Although this may be a reason why diaries are kept today, the history of diary writing shows motives that are as vast as the time scale they cover.

The first remnants of what we might

recognise as the form can be traced back to the 10th-century Japanese court where women wrote ‘pillow books’ (named after the action of tucking them under a pillow after writing). The entries within these diaries are both reflective and expressive, making a firm departure from the factual form of diary keeping that had been in place since the ancient Egyptian Diary of Merer. However, it was not until the late Renaissance, that the rise of individualism encouraged an increase in diary writing as a method to express the self, whether this be through hopes, fears, or the mundanity of the everyday. Despite a wealth of Italian diarists in this age, it was not until the Restoration period that a British household name emerged. This relates to Samuel Pepys, whose portrayal of the Great Fire of London in his ‘Sunday 2nd September 1666’ is one of the most prolific diary entries in history. The combination of momentous events with his own honesty makes for a fascinating read, and one I would highly recommend.

Diary writing continued to evolve through its inclusion within literature, this being through the form of the epistolary novel in the 18th and 19th centuries. The epistolary novel is one that is told through transient forms of writing such as letters, documents, newspaper clippings, and diaries. Such infamous examples include The Woman in White in 1860 and Dracula in 1897. Both draw attention to the diary’s transformational ability to add a level of realism in an era preoccupied with heavy narrative description.

Of course, no diary article would be complete without mention of Anne Frank’s The Diary of a Young Girl. It is an extraordinarily thoughtful work depicting Frank’s experiences during her two years in hiding throughout the Nazi occupation of the Netherlands. Although she never intended it to be published, it remains the bestselling diary ever written.

A Farewell From Our Books Editor Sophie

Does having this knowledge of the history of diary writing take me any closer to understanding why I do it? Maybe.

The fact that for most of its early history, it seems to appear unattached to any direct legacy shows that there must be something innate in us that simply wants to create stories out of our lives. Even today no one picks up a notebook at ten years old and starts scribbling about their feelings because that’s what Marino Sanuto the Younger did in the 1500s. Therefore, if I had to guess why people write diaries, it would be the need to control a life that can at times feel so frighteningly random (although that doesn’t sound nearly as romantic as following in the creative footsteps of Sylvia Plath).

Still, I hope that one day the interesting old man comes back to the restaurant so that I can tell him that 59 years of diary writing probably hasn’t been a waste of time.

And with that, we draw Venue 2023-2024 to a close; what an experience it has been!

First-year Sophie wouldn’t have pictured herself as the Books Section editor. She would have refused to write articles, let alone interview authors, create pitches for talented writers, and be brave enough to see her work in print. Becoming a section editor was my first experience in both writing and editing articles, I am a history student by nature, not a creative writer, which is comically evident in my early articles! I thank the readers who have witnessed my confidence grow, for your patience, and for sticking with me throughout.

I have had near-breakdowns to poor Millie and Tee over InDesign (thanks to my technological incontinence) which only a Unio brownie could fix. But what saw me through was everyone’s incredible work in print; holding my three orange pages, inky-figured from the press, filled with passion from writers across UEA. The writers are truly what made this section, and I thank you for embodying my vision for this section. My main thank you goes to Millie and Tee, who transformed the magazine this year, guided us, and led us to be shortlisted for a Student Publication Award. With a ticket to Bristol, I have made some incredible friends. All I wish to say now is thank you, readers. We have a long glorious summer of reading to look forward to!

PHOTO CREDIT: UNSPLASH

creative writing

creative writing editor: Will Muncer

Where’s The Tinfoil?

By Anonymous

Content Note: Strong language

I’m cooking dinner for you. I’ve cooked dinner every night this week. I started this morning, before I left the house, and poured love and effort and care into it. I am proud of it. And then you look at me from your chair and ask “where’s the tin foil?” I stare back at you blankly. “I don’t know.” I finally say. I do. It’s in the drawer. The drawer where it’s only ever been fucking kept. You stare back at me, not moving from the spot where you stand. “I can’t find it.” You tell me. You haven’t looked. I refuse to look, ignoring your question. A few minutes pass and you ask me again. Two more minutes. Two more repeats. Finally I snap. I search, and within thirty seconds I find it. In the drawer where it’s only ever been fucking kept. I put it on the side and continue cooking dinner. I bite my tongue.

“But you know better than me.”

I’m walking around the grocery store, pushing the trolley. Today, for once, I asked you to be in charge of the list. We walk past the dairy aisle and you turn to me, and ask me if we need milk. I tell you to check the list. It says we need milk. I tell you to put the milk in the trolley. We walk past the meat aisle. It says meatballs. You ask if you should pick up the 12 or the 20 as they’re the same price and the same weight. I tell

you I don’t know. You ask me again. I want to scream.

“I don’t know what it’s for..”

Every night before bed, I wash up all the plates and utensils from making and eating dinner. I wipe down the sides and I leave the kitchen spotless before I go to bed. I can breathe. I go out to work. I am physically tired, I am mentally shattered. I enter through the kitchen. There are crumbs and sauce on the countertops. Things have been left out. There is food on the side. There are stacks of plates in the sink. I silently fix it all before I can even take my shoes off. I want to scream. I bite my tongue.

“Men aren’t raised to see mess the same way women do.”

Sometimes I feel as though I’m screaming silently into an empty void. No one can hear me, and even if they could, I can’t even explain what it is that makes me feel so crazy.

“Sometimes I feel as though I’m screaming silnetly into an empty void.”

PHOTO CREDITS:

Complete By Eve Attwood

Content Note: Strong language and selfharm imagery.

words are only half of me, they cannot represent the whole, the shadow of the self that lingers and says nothing at all. i’ve spun a narrative a thousand times of who i think i am, trying to poeticise it, manipulate it, –trying to convince you all.

there’s who i see and who i am, who i am, and who i miss. who i want to be, who i need to be. who i’m scared to be with when night falls.

Night brings thoughts i shouldn’t entertain, so i try to shut them out, to stop playing this cyclical game. i should feel so alone, but part of me is relieved –i lost myself trying to please you, trying to convince myself i deserved pain.

the urge had always been there to light myself on fire. a form of punishment or self love? i relished in the silence. but i’m tired of the endless cycle, of the smoke and misery –i think i prefer myself when i’m actually fucking happy.

thought i was whole with you, but i was only half myself. my words are only half of me, but this half of me is whole.

“the urge had always been there to light myself on fire”

Letter From a Distant Goverment

Content Warning: Disease theme, reference to suicide

Dear [REDACTED],

You are receiving this letter following your discharge from The Facility due to you contracting The Virus. Only citizens who did not follow the lockdown protocol have contracted The Virus, therefore, testing positive to The Virus is evidence of breaking the law.

This is now reflected in your criminal record. You now have several legallybinding obligations to fulfil.

1. You must begin searching for employment within two weeks of arriving home. Failure to do so will result in a fine of up to £10,000. Continued failure to work could result in up to ten years prison time.

2. You will not be given any financial support and are no longer eligible for treatment from The Health Service for twenty-four months following discharge. Your reckless endangerment of The Heath Service means that you are no longer permitted to indulge in its benefits. You may pursue private healthcare, but they are legally

entitled to reject you should they choose.

3. You are forbidden from publicly criticising The Government’s handling of The Virus. You were graciously given shelter, free food, medical attention, running water, and security during your stay at The Facility, and any criticism of the system that provided those to you will face severe retaliation. Freedom of speech is a luxury afforded to those who do not endanger others.

Additionally, many subjects at The Facility have reported the following symptoms upon release: fatigue, migraines, chest pain, persistent cough, loss of appetite, nausea, vomiting, disrupted menstrual cycle, and insomnia. If you have any of the symptoms listed, please do not seek medical assistance, as these are all consistent with PostViral Hypochondria, also known as ‘PostViral Victimhood’. You are not a victim, you are alive. ‘Victimhood’ is not afforded to the living.

By Sophia Braithwaite

If you are unable to comply with the criteria established in this letter, a pack of euthanasia capsules will be provided. After receiving this medication, swallow all capsules provided with a glass of water, lock your front door, and lie in bed. You are a parasite, and should you take this course of action, there is honour in relieving The Government of the burden of your care.

Warm regards, [REDACTED], Health Secretary

“Freedom of speech is a luxury afforded to those who do not endanger others.”

creative writing

Pebbles By Rowena Kaye

EXT. PARK DAY

Two women are sitting on a bench. A pond in front of them, the cloudy sky reflected on its surface.

CHARLOTTE (27) is retying her laces as GEORGE (28), stares at some ducks and rubs at the corner of her eye, slightly smudging her eyeliner.

CHARLOTTE

You know, I don’t think I’ve ever seen you angry... Have you ever actually been angry?

GEORGE ... Of course.

CHARLOTTE

About what, though? What really gets your blood boiling?

GEORGE

All kinds of stuff, I guess... you know... all kinds.

CHARLOTTE

But what specifically?

George turns away from the ducks. Smiles at Charlotte.

GEORGE This conversation?

CHARLOTTE

Shut up... I’m serious.

GEORGE

Well... I- I don’t know.

CHARLOTTE

I’ve never even heard you raise your voice. Hey, maybe one day you’ll just

burst. One tiny thing will tip you over the edge... boom.

She puffs her cheeks, miming an explosion with her free hand.

GEORGE

I don’t think so. George touches a pebble with her boot. Although... There was that time you told me you found a cool rock in Vancouver and it turned out to be your engagement ring. I was looking forward to that rock.

CHARLOTTE

My engagement announcement made you angry?

GEORGE

Mm, alright. More like annoyed by your rock of lies.

Charlotte looks at the pebble too.

CHARLOTTE

What about the state of the world? The absolute horror show going on, doesn’t that -

GEORGE

Yeah... But it’s hard to be angry all the time. No one can sustain the level of anger needed to be angry at the world all of the time. Nothing has ever been completely good, perfect, there’s always something, some kind of injustice happening somewhere to someone.

George picks up the pebble.

GEORGE (cont’d)

And how do we decide what to be angry about? How do we divide that emotion, divvy it up and hand it out? Decide what gets more and what gets less? Is the slow death of the planet worthy of more anger than the thirty thousand dead across

11

the sea? I don’t know. Do you know? No. Nobody knows. How are we meant to know? It’s impossible. We’re all just making it up anyway and what good is that anger without action? Anger without action is just a senseless rant and -

CHARLOTTE Are you alright?

GEORGE What?

Charlotte pokes the pebble.

GEORGE (cont’d) Oh…

George smiles and holds the pebble out to Charlotte.

GEORGE (cont’d)

Probably not...

A Farewell From Our Creative Writing Editor Will

Hello dear reader,

It is I, the editor, the hidden voice from behind the curtain. My job has been to commission pieces, coax writers and even (when no other option was available) put pen to paper myself to ensure you got eighteen hundred or so words of fresh creative prose, poetry or script into your eyeballs every single issue!

It has been a rewarding job, allowing me to work with talented people, gather new skills and edit wonderfully daring pieces of creative endeavour. All that and something to mercilessly milk on my CV! Happy days indeed.

I would like to thank the writers that have contributed to my section over the last three-ish semesters. It has been an honour and privilege and I would encourage all of you to continue on your writing journey. You are all truly talented and I look forward to seeing what you do next. Remember me when you’ve got your six-figure movie deals, eh?

Well that’s quite enough from me. You came here for the writing, didn’t you! This issue’s selection is one of our best yet featuring fan favourites such as Rowena Kaye, Sophia Braithwaite and the benevolent boss-lady herself Eve Attwood!

I wish you all the best and can’t wait to see where this section goes next!

(P.S. I’ll give you a cookie if you can work out who our top secret mystery writer was this issue…)

PHOTO CREDIT: UNSPLASH

PHOTO CREDIT: INNES HENRY

fashion editor: Caitlin Bennett

Norwich: Fashion on the Map

By Eve Attwood

One thing I was struck by when I moved to Norwich for university was the huge amount of creative people roaming the city streets. Creativity, as we all know, comes in a variety of forms, but fashion is perhaps one of the most obvious mediums for expressing yourself and embracing your individuality. I come from a very small town with pretty limited shopping options, but thankfully (not so much for my bank account!), Norwich has loads of shops and stalls suited to a whole spectrum of buyers and styles.

For the eco-conscious consumer who loves quality pieces - Lucy & Yak

This choice won’t come as a surprise to many of you. Norwich’s Lucy & Yak store first opened its doors in 2022, and since has become a staple part of the Norwich fashion scene. Lucy & Yak gained a reputation for their signature dungarees which come in a range of patterns and colours, including the famous sunflower design you’ve probably seen about ten different people wearing in summer. They are also a brand which prioritises sustainability and worker’s rights, instead of simply trying to greenwash consumers. Perhaps the only drawback of this is that Lucy & Yak is not the most affordable brand for a student budget, with the average item setting you back around £50. However, I’d argue that in the long term buying an item from Lucy & Yak will save you money as they are quality pieces you will keep in your wardrobe for years to come. I have two pairs of dungarees from Lucy & Yak – one brown and the other a bright red which I absolutely love, and wear in all seasons.

For the on the budget consumer who wants unique pieces –Charity shops

Charity shops have been on the rise again since the creation of apps such as Depop and Vinted, and rightfully so. They are great for those on a budget and are a way of finding pieces

nobody else is wearing, or which have gone “out of fashion”. I’ve personally found a lot of luck with Age UK in Norwich where I bought a really good quality turtleneck in the winter, and a purple cardigan for spring. Both of these items were around £2-£3, so it’s an absolute steal if you find what you’re looking for. Near to Age UK are the British Heart Foundation and Cancer Research, but there are plenty more charity shops near Anglia Square such as a big Oxfam on Magdalen Street. My advice with charity shops would be to go in having an idea of what specific item you’re looking for, as it can be pretty overwhelming otherwise.

For jeans that actually fit – Marks & Spencer

Now, before you all label me a Tory, hear me out. As someone who spent the majority of their teenage years dreading buying and trying on jeans, I’ve had some luck with M&S. A lot of brands and their sizing (particularly for women) is laughable, and is honestly a source for a lot of womens’ insecurities. I think M&S is a brand which has prioritised pretty accurate sizing, and like Lucy & Yak, prioritises sustainability and quality materials. Some of my favourite pairs of wide leg jeans are from M&S and are honestly the comfiest jeans I’ve ever owned. They’re also really great at providing petite and tall options, so no one gets left out. They’re also not as extortionate as many might assume, with many of their own brand jeans costing less than Topshop’s used to be.

For those who have suffered with body image issues, summer and clothes shopping can be a source of anxiety, so be kind to yourself and wear what makes you feel comfortable. There are so many places in Norwich with options for you to try, so it’s a matter of experimenting and finding what suits you best. Don’t be too hard on yourself if the first place you try isn’t a match. Clothes shopping should be fun, not a way to punish yourself, so please remind yourself that this summer!

PHOTO CREDIT: UNSPLASH

fashion

What’s in for Summer?

By Jasmin Knock

Summer – the season where personalities shine through fashion, with bright colours, styled accessories, and lighter fabrics. Here are some of the biggest trends we will see this upcoming summer!

Summer Tailoring

One of the biggest trends coming this summer is tailored waistcoats and short co-ords. These will make summer dressing super easy, especially as many fashion brands and houses are styling these out in summer materials such as linen and cotton, making the hot summer temperatures more bearable!

Waistcoats have been gaining popularity over the last few seasons and embroidered and quilted waistcoats and jackets have been very much loved this past year, so it is no surprise that this love would continue into the summer months with lighter and airier versions.

Sticking with the trend of linen, relaxed wide-leg trousers are the summer classic that we see time and time again and will definitely be continuing their legacy for 2024. Linen trousers are my go-to for every summer and have been a staple in my wardrobe since 2019. They are such a versatile and easy-to-wear item that should be in everyone’s wardrobe for easy summer dressing. They can be styled down

for a casual Sunday farmers market walk or styled up for an evening dinner on holiday.

Cooling Crochet

Another big trend coming this summer will be crochet, which is super exciting as a crocheter myself!

As we attempt to move towards being more sustainable, one of the best ways to produce, wear, and style new clothes is by making them yourself! Crochet is one of the quickest ways to make new clothes and accessories. Whilst not always the cheapest option, crochet is one of the most rewarding skills and can be done fairly low-cost with the help of YouTube tutorials and Pinterest. Crochet is the perfect texture to add to any summer outfit and can be easily dressed up or down for versatility. From bucket hats to beach cover-ups, summer crochet is known for being light and breathable as it incorporates lighter summer materials such as a cotton, therefore making it perfect for summer styling as the summer heat gets up.

Big, Bold, and Blue

The big colours this season have already set their place in summer fashion. The most classic which never strays far from

being in summer trends, is white. From ‘Little White Dresses’ to relaxed linen, white has become one of the most versatile colours over the past few seasons and will continue to have a strong grip on summer styles for next few seasons to come.

The biggest colour trend this summer is bright sky blue. From bold eyeshadow looks to summer holiday outfits, blue has made its statement on the S/S24 season. One of the most noticeable brands fulfilling the blue trend this is Staud. Staud’s beaded shoulder bags have had many people in love and excited for upcoming holidays and have definitely set themselves out from the crowd with their unique designs.

Tennis Chic.

The biggest style trend this summer is tennis chic. If you have seen the increased popularity around Zendaya’s new film Challengers, then it is no surprise that the timeless, ‘old money’ style has taken on a new form with the help from the films costume design. From Ralph Lauren Polo shirts to white skorts, the era of tennis chic is here. This preppy, athletic style has taken social media by storm and is one that has inspired people to take up the sport and influenced fashion to revive the love for athleisure wear.

PHOTO CREDIT: UNSPLASH

Met Gala: The Garden of Time

By Caitlin Bennett

The Met Gala is nearly upon us, (although at the time of publication, it will have already happened!) like a glistening jewel in the calendar, a landmark of the middle of Spring. This year’s theme is ‘The Garden of Time’ and every year the carefully selected celebrities and socialites flock to the Metropolitan Museum of Modern Art – and on the famous stairs we find out who has decided to pay attention to the evening’s dress code or not!

The first thing to discuss is who will be invited.

Anna Wintour’s mind is clever and secretive when it comes to the guest list. Sidney Sweeney, Sabrina Carpenter, Barry Keoghan, Timothee Chalamet and Taylor Swift are all names this year which have seen an unprecedented amount of popularity and publicity, so we can expect to see them be invited. There has been an unofficial guest list circulating social media, however we will only find out how accurate it is on the night. There’s also those in the Met Gala hall of fame - Blake Lively, Gigi Hadid, Rihanna, Lady Gaga.

One thing we know for certain is that the co-chairs have been released for the evening. Zendaya, Jennifer Lopez, Chris Hemsworth and Bad Bunny are all set to present the evening, which will make for a night of great entertainment. As per usual, for the Vogue red carpet hosts, Emma Chamberlain will be spicing up the interviews alongside Gwendolyn’s Christie, LaLa Anthony and Ashley Graham.

Controversially, the Kardashians are always invited, and they usually get a lot of media coverage and criticism. This could be as a result of the family’s array of haters, but also due to their debatable loyalty to the dress code as we sometimes see them using the event as a publicity stunt and not honoring the night’s theme. Kim saw the most backlash when she wore Marilyn Monroe’s iconic dress, and critics speculated that Kim had had the historic piece adjusted. Last year, we saw Kim was accompanied by her daughterwhat will happen this year with them?

The night will see a lot of media coverage and opinionated debate, it’s always lovely to see the choices made by designers, and who they choose to take their looks on to the world stage.

The idea of celebrity is a fragile definition in this changing society, so will we see more influencers to increase the coverage?

It’s all yet to come, and there’s everything to look forward to. The event echoes the past of ballgowns, gossip and Bridgertonesque whispers and giggles. When you are reading this, you’ll know much more than I do now!

A Farewell From Our Fashion Editor Caitlin

Welcome to the Fashion section of Venue, it’s been my pleasure editing this space for the last academic year, and I have truly enjoyed my first official writing position, getting to produce copy for print. I remember at the start of the year feeling apprehensive for the year to come having made a big decision to come back to university and seeing the first paper in print with my name and words in the section. My course may be a challenge, but this creative outlet has been golden.

Thank you so much to Tee and Millie, our lovely Venue Co-Editors, for being friendly faces from the start and showing kindness and patience with me in this new chapter. It’s been lovely to be tutored by you on lay-up processes and learn from your insightful feedback.

Thank you also to everyone who wrote for me this year, I appreciate every single one of you as it has been lovely to read your work and be taught by you. I personally believe we have produced some great content this year together and it’s been a pleasure reading your work.

I will see you all next year, wherever that may be.

PHOTO CREDIT: UNSPLASH

PHOTO CREDIT: INNES HENRY

film editor: Ore Adeyoola

American Graffiti -–

One Last Night

By Noah Martin

I came across this film during lockdown when I was working through Harrison Ford’s filmography and found George Lucas’ breakout film four whole years before Star Wars. It’s a time capsule of the 60s, apparently using Lucas’ own experiences of cruising in his Modelo as inspiration. It captures everything of that time, cruise culture, hot-rods, drive-ins and even the more unfortunate parts of that culture that haven’t aged well.

Despite that I found myself fascinated with this film; it delivers one continuous night following the perspectives of different members of a friend group as some of them prepare to leave for college. I say some because not everyone is ready to leave the town they grew up in, especially the hot-rod king John played by Paul Le Mat who is determined to remain the fastest in his town despite the culture changing and rapidly outgrowing him. Each friend is thrown into a situation that they’re least equipped to deal with and they have to change with the times or slowly fail clinging onto what they already had. The whole night is accompanied by the haunting ramblings of Wolfman Jack, a mysterious radio presenter who really lends aid to the atmosphere of their last night of familiarity.

It interested me because I’ve found myself resistant to change before. At the time of lockdown, like many others I was preparing to go different ways with my friend group as we moved to different

parts of the country. While I wasn’t racing hot-rods against Harrison Ford, I found myself thinking whether things were ever going to be the same. Now I’m preparing to leave uni and the same thoughts are appearing again.

This is less of a coming-of-age film but rather more of a goodbye film, a goodbye to the wide-eyed innocence that came with being a schoolkid and choosing whether to accept the possibilities that the future holds. It’s okay to be scared and it’s fun to be nostalgic, but also life is fleeting and the more you see of the world, the better. If you get too wrapped up in the good times that you had, you may not ever get the name of that stranger longingly staring out the window of a Thunderbird at you - or whatever the non-cruise culture example of that is. Live in the present, have fun and best of luck to all!

PHOTO CREDITS: UNSPLASH

Sports in Film

The Iron Claw: A Devastating Glimpse into Brotherhood, Grief and the World of Pro-Wrestling

By Sankavi Naresh

The Iron Claw, directed by Sean Durkin, is a poignant biopic exploring brotherhood, grief and toxicity within the professional wrestling industry. Set against the backdrop of the legendary Von Erich wrestling family, the film delves into the highs and lows of their lives both inside and outside the ring.

The 1980s were a pivotal era for professional wrestling, particularly in North America, with the rise of the World Wrestling Association (now WWE) and the American Wrestling Association (AWA). Whilst the 1980s saw growth in popularity for wrestling, it was punctuated by several forms of toxicity within the industry. Pro-wrestling in the 80s was rife with exploitative contracts, drug abuse and dangerous matches. This took a significant toll on both the physical and mental health of wrestlers.

After David’s death, the film’s atmosphere takes on something heavier and darker. The way grief is depicted in the film is not simple. It twists and turns, embedding itself into the family, gradually trickling its way down the brothers. Fritz Von Erich is stoic in how he handles the loss of his son(s), leaving the brothers to fight through their grief with each other.

*Slight Spoiler Warning*

Kevin battles with the “Von Erich curse”, distancing himself from his family, Mike and Kerry struggle with living under Kevin’s shadow whilst coming to terms with their brother’s death.

There was a fifth Von Erich brother, Chris, who was not written into the film. He was the youngest and also wrestled, however he grappled with the pressure of living up to his brothers’ success due to his health. He killed himself at 21. In an interview with the Los Angeles Times, Durkin stated “There was a repetition to it, and it was one more tragedy that the film couldn’t really withstand…” This was met with some criticism with some believing that it erased Chris Von Erich’s legacy; others defended Durkin’s decision, agreeing that it would weigh down the film in terms of the atmosphere and story. Should creative liberties be taken when it comes to making a biopic? It raises questions about the ethical boundaries of biographical storytelling. How much should directors be allowed to cut out or change when it comes to depicting real life stories on the big screen?

Zac Efron shines in the role of Kevin Von Erich; although the High School Musical

Challengers (2024) Tennis, Sex, Power and Grief

By Isaac Arif

Challengers (2024) throbs and pulsates through the screen from beginning to end with its techno soundtrack and statuesque stars. It lets us in on a steamy, messy, and exciting love triangle that doesn’t allow a moment of rest. Using the framework of tennis, throwing us back and forth between different moments in the character’s lives, Challengers makes for a thrilling ride that needs to be seen to be believed.

Director Luca Guadagnino opens on the final match in slow motion and extremely closeup. Sweat dripping, eyes widening and anticipation building. The match is between Art Donaldson (Mike Faist) and Patrick Zweig (Josh O’Connor), former best friends whose lives were transformed thirteen years earlier when they met and both pined for the affection of another tennis player, Tashi Duncan (Zendaya). Once deemed a ‘tennis champion of tomorrow’, Tashi is now

her husband, Art’s coach, as she suffered an injury, destroying her tennis career, and perhaps her one true love. It keeps us in this moment, flickering back to it, reminding us of the rage and loss leading up to this match. This structure makes the film fly by, even though it’s nearly two and a half hours long. The film itself is a tennis match, from the time jumps to the editing in conversation scenes, and this is what makes it so brilliant. Everything other than tennis is a match, whilst actual tennis is a conversation.

Tennis is fury, passion, desire, sex, power, vulnerability, perfection and grief.

Tennis is everything that cannot be expressed in words. Tennis becomes a new kind of relationship; it is transcendent.>

trilogy is iconic and a marker of our childhoods, Efron is unrecognisable in this. He’s almost effortless in his portrayal of Kevin Von Erich. Harris Dickinson and Jeremy Allen White also kill it playing David Von Erich and Kerry Von Erich respectively.

I have to give you a warning if you’ve not seen it yet, it’s certainly not an easy watch. Me and my friends were reduced to tears by the end of it! The cinematography is amazing and the score is absolutely heart wrenching where it needs to be. If you’ve not yet seen it, I’d give it a go - it’s a devastating story but one that’s well worth the watch.

PHOTO CREDIT: UNSPLASH

PHOTO CREDIT: UNSPLASH

< It would be a huge disservice to not mention that this is one of the sexiest films to grace the big screen in a long time, and what is so sexy about it isn’t on screen. The eroticism of Challengers is all in the sport. By allowing the implied to take precedence, the film leaves room for various interpretations upon rewatching, making for a new experience every time. Challengers is a gift for people that crave open endings, with its homoerotic and very intense Throuple.

Challengers is one of those rare gems that solidifies itself as one-of-a-kind upon a first watch. It is what audiences have been missing, something that pushes the boundaries of filmmaking and reminds us that the medium is still young.

Getting Involved with Film at UEA

By Ore Adeyoola

If I have one regret about my time as a Media student at UEA, it’s definitely that I didn’t get more involved in the Norwich film scene. Here are a few simple things I would’ve done different, and hopefully they’ll inspire you to take the leap and create.

Join Unthank Productions

Unthank Productions is the university’s filmmaking society. It’s a great place to get involved with the production elements of filmmaking and find people to create with. Making a film is so much easier with a team, and with a mix of beginners and experienced filmmakers, you can learn from

others and connect with people that make cool projects happen.

Be Proactive

Norwich is such a creative city. Although I feel I’m ready to move on, it’s such a good place to go out and start creating. University flies by fast and if you don’t decide to dedicate time to commit to projects, other things will fill up the time. Sit down, write up ideas, practise whatever side of filmmaking you’re interested in. Finding the time to build on your craft can be the difference between an idea being just a thought vs a project.

A Farewell From Our Film Editor Ore

Check out Guest Speakers

As an AMA student, the amount of times I got an email about a cool guest speaker from the film industry coming to UEA, decided I wanted to go and then completely forgot it is a bit embarrassing. Don’t be like me. Read your emails, set reminders, bring a friend. The film industry loves to gate-keep barriers of entry, so advice from an industry insider is invaluable.

I hope this short list inspires a budding filmmaker to get a bit more involved in the extracurricular side of filmmaking at university. You’re paying 9k a year, make use of the resources the university has!

I can’t believe it’s already been an academic year as Film Editor for Venue! When I applied for this role I’d written three or four articles across the paper and felt intrigued, but intimidated at the prospect of working for the editorial team. Almost a year later and my confidence in my writing has grown, I’ve made some wonderful friends and I’ve had the pleasure of reading amazing articles. A huge thank you to all the writers who made my job so easy– if any of you are still in UEA next academic year I urge you to apply for an editorial role! The talent shown in this section made it a joy to run.

A shoutout is also due for the senior Venue editors, Millie and Tee. Thank you for putting up with all my questions and being so patient with me as we laid up the newspaper together. I couldn’t have done any of this without you guys’ support.

For anyone curious, I’m continuing my Arts journalism journey into postgraduate education. I’m studying MA Arts and Lifestyle Journalism at the University of the Arts, London. Terrifying, but exciting! Wishing you all luck on whatever your next steps are, and I hope to keep reading your articles.

PHOTO CREDIT: UNSPLASH

PHOTO CREDIT: INNES HENRY

PHOTO CREDIT: UNSPLASH

Britain’s Best Sitcoms

By Matthew Stothard

I’m a huge fan of British sitcoms, but it could be argued they’re a dying art form. To counter that, here’s my top five (in no particular order) to prove why the format still deserves some love!

Miranda

Miranda doesn’t really need an introduction. It draws on a classic 70s feel and takes it to another level, with countless instances of breaking the fourth wall which really give the viewer a relationship with the titular character. Miranda is brilliant for catchphrases (‘Bear with,’ ‘Such fun,’ etc), but the reason it’s so addictive is that it’s full of heart (and Hart if you’ll pardon the pun!) – the central characters feel like such a family unit, and you become really invested in their warm lives. Miranda is probably the most recent ‘classic’ sitcom, and it’s well-earned that status.

Keeping Up Appearances

Patricia Routledge expertly created a character in Hyacinth Bucket (of course pronounced ‘Bouquet’) who you may not like to meet in real-life but was still likeable on screen. It’s another show with great catchphrases (‘The ‘Bouquet’ residence, lady of the house speaking!’ being one of the best), and the sidecast of Hyacinth’s lower-class family members make a great contrast to Routledge’s middle-class social climber. Always trying to avoid embarrassment, always keeping up appearances, I wonder if the success of this show is that there’s more of Hyacinth in many of us than we’d care to admit!

The Goes Wrong Show

Brought to screen by Mischief Theatre, each episode follows the fictional ‘Cornley Polytechnic Drama Society’ performing a televised ‘Play of the Week,’ which inevitably, as the title suggests, goes wrong in the most entertaining and innovative ways. They are all laugh-out-loud funny, but some of my favourites

are ‘60s horror pastiche ‘The Lodge’, WWII drama ‘The Pilot (Not The Pilot)’ and the definitely not by Shakespeare ‘The Most Lamentable...’ (which includes one of the series’ best lines, ‘That’s reality, join me in fiction!’). These are all standalone stories, but what pushes it into sitcom territory are the narratives around the fictional actors of the Society, whose egos and relationships play out in the background.

The Good Life

The Good Life is absolutely glorious! Focusing on Tom and Barbara Good’s (Richard Briers and Felicity Kendal) journey of self-sufficiency in Surbiton, the show really thrives on their relationship with their neighbours Margo and Jerry Leadbetter (Penelope Keith and Paul Eddington). Margot is a particular delight, a pre-Thatcher Thatcherite snob who is somehow still likeable, and there’s an undercurrent that the couples, whilst in loving marriages, also fancy each other! So warm and enjoyable throughout, the end of this series is probably one of the most unique and moving of any sitcom.

W1A

I love W1A, it’s my favourite sitcom and might even be my favourite TV show. A mockumentary which follows Ian Fletcher (Hugh Bonneville) in his role as Head of Values at the BBC, the show satirises the corporation’s management in a way that is familiar to anyone who’s ever been in a meeting. The writing from John Morton is sublime and the rhythm of the script is so clever! There are so many strong recurring lines that some (‘Very good very strong’ and ‘Yes exactly yes’ especially) became catchphrases in my family – in my mind one of the marks of a great sitcom! The regular and guest casts are great, the romantic sub-plots are engaging and to top it all off the narration by David Tennant is so funny (‘the Department for Culture, Media and for some reason also Sport’ is one of my favourite lines!). What more could you ask for!

tv editor: Lucy Potter

PHOTO CREDIT: UNSPLASH

Baby Reindeer: The Consequences of Adapting Real Stories

By Ella Hamlin

Since its premier just a little under a month ago, it’s been hard to avoid the buzz surrounding Netflix’s new black comedy limited series Baby Reindeer. The show soared to the number one spot on Netflix’s Top 10 Watch List and received an impressive 98% on Rotten Tomatoes, with over 22 million people having watched it already. Many factors could potentially play into its soaring popularity. For example, it has a unique, fast paced filming style that makes the series incredibly bingeable. Could it also be due to its gripping, dramatic storyline? Or perhaps it's because most people feel connected to the fact that the characters and the story depicted are all very much true.

Comedian and writer Richard Gadd plays the protagonist Donny, a young Scot who works as a bartender in a Camden pub, all while trying to make it big on the London comedy scene. Not only does Gadd play the charismatic lead but it turns out Baby Reindeer is all based on his own life; he basically plays himself. This detail is impressive on its own, yet if you watched the show and you know how disturbing and heartbreaking things get for Donny, knowing that Gadd is reliving this trauma is almost unbelievable.

Gadd is supported by actress Jessica Gunning who plays Martha, a 40-year-old woman who claims to be a top lawyer, working for some of the country's highprofile politicians. She encounters Donny after entering the pub he works at with a sombre look on her face. Taking pity on Martha, Donny offers her a cup of tea on the house. This simple, now infamous, act of kindness is the trigger point for the rest of the story that unfolds. Martha quickly becomes infatuated with Donny and proceeds to obsess and stalk him over a

Each episode, which averages at 35 minutes, gets darker as Martha’s stalking becomes more intense. She goes from having a harmless banter-centered relationship with Donny as a ‘regular’ in the pub, to abusing his girlfriend for being the ‘other-woman’ in the fictitious sexual relationship that she has created between herself and Donny.

Baby Reindeer may be a depiction of a true-story stalking case, but it is not a villain and victim story. Before it was adapted into a Netflix phenomenon, the story was told as a one man show. Back in 2019, Gadd said: “It would be unfair to say she was an awful person and I was a victim. That didn’t feel true”

Backtracking to why I think Baby Reindeer has gained such immense popularity in such a short time period, I believe it’s because an audience love to feel connected to what they watch on screen. It’s what makes a show so watchable. However, in this case, not only can fans watch and feel immersed in the drama as if they are the ones being stalked, but they also have power to find out more about the people that the characters are so closely based on.

Tension continues to unfold online as internet sleuths have slowly managed to uncover the identity of Martha, or so the woman that they believe the character to be based on. From X(formerly Twitter) to Facebook, people have been ruthlessly and ironically “stalking” a number of women that they believe to have links to Gadd. The irony of the viewers turning to stalking and investigating themselves is almost laughable but is something that Gadd has had to address himself. Gadd took to Instagram to shut down the chances of the characters' real identities being revealed. He stated:

A Farewell From Our TV Editor Lucy

“Please don’t speculate on who the real-life people could be. That’s not the point of our show”

Others online are jumping at Gadd, suggesting he should’ve put more effort into making the identity of the perpetrators even more anonymous than he already did. But at what point does that blur the lines between telling his story or telling a fictional one? It’s hard to control the lengths that audiences go to, to connect further with the media, after having watched content. So, as much as Gadd could have tried to hide the identities of those involved, there will always be people who do deeper digging.

I want to start this off by first thanking the Venue Co-Editors, Millie and Tee, for choosing me to be the TV section editor this year. I have loved learning how the whole publishing process works, and this has been an amazing opportunity for me. Also, thank you to everyone who has written for this section over the past year. I’ve really enjoyed reading everyone’s articles; the standard of writing is so high, and I’ve loved learning about different kinds of TV shows. I have also really loved writing my own articles. It’s been wonderful to be able to write about all the TV shows I am passionate about, and sharing my opinions with all of our amazing readers. One of my favourite articles to write was one that I wrote for our first issue of the year. I wrote it about Our Flag Means Death, which is one of my favourite TV shows. It felt great to spend 600 words writing about how much I love the show. Next year I hope to continue writing for Venue, and sharing my passions. I would like to potentially try writing more for Concrete as well, potentially about Sport or News. Overall, this has been an incredible experience and I can’t believe we’ve reached the final issue already!

PHOTO CREDIT: UNSPLASH

PHOTO CREDIT: INNES HENRY

The Constructed Personas of Reality TV

By Eve Attwood

An embarrassing truth I have realised about myself in the last year is that I enjoy watching reality TV. Yes – the trashy, binge worthy shows where people argue about issues that no one in their right mind with a 9-5 job would ever care about. From Dance Moms to Made in Chelsea, I’ve truly watched them all, and they’ve left me with conflicted feelings in regards to the concept of reality TV and what it represents. Does reality TV still have a role to play in the future of television, or is it portraying a distorted sense of real life interactions?

Shows such as Made in Chelsea focus on a group of privileged young people (often single or in on and off again relationships), with the entire concept centering around a glimpse into an exclusive lifestyle many of us cannot relate to. However, with it being “reality TV”, we are meant to sympathise with certain “characters” on the show, following their emotions and sorting the cast into who we like and dislike. With the need for constant drama on reality TV shows, we relish moments where there are explosive arguments or huge secrets revealed.

But in everyday life, these situations are far less common. This creates a distortion whereby those on reality TV shows end up being perceived as less human being, and more façades. Arguments become a way of gaining screen time or popularity, and less about sorting out conflicts. The influence that certain reality stars gain after being on these shows follows them onto social media, where they are forced to continue these personas, as well as making themselves marketable to companies selling cosmetics

and strange protein drinks that likely make you poop three times a day.

Their income then relies on their relevance and social media engagement, meaning their lives end up circulating around external validation, shifting their entire sense of self.

Perhaps, some people will think I’m reading into the future of reality TV too deeply, but the digital landscape is constantly changing. It’s a strange era for television right now and for TV personalities, but it might be time to reconsider the impact such constructed reality is having on us as the audience.

PHOTO CREDIT: UNSPLASH

music editor: Lily Taylor

Taylor Swift’s

The Tortured Poets Department: A Review

By Linda Vu

Surprise, surprise, another Taylor Swift album. The Tortured Poets Department is Swift’s 11th studio album, marketed as an album about personal life but alluding to being about her ex-boyfriend, Joe Alywn, but upon listening, it’s actually (mostly) about Matty Healy, the lead singer of The 1975. Not surprising considering roughly a year ago on her Eras Tour, she mouthed the words, “This one is about you. You know who you are. I love you!” I went into this album thinking it’ll resemble Folklore (2020), one of my favourite works from her, written and produced with care. While I applaud her work ethic to satisfy her fans’ cravings for more, more, more, I found I disliked this album for a plethora of reasons.

The album has been critiqued for being too long, monotonous and clunky with mediocre production as Jack Antonoff ruins (mostly) everything he touches when it comes to Taylor’s work, and even Aaron Dessner, the guy who produced “The Great War” and “Would’ve, Could’ve, Should’ve” on Midnights (2022), becoming another ‘yes-man’ to Taylor, and I agree; her music wasn’t really challenged in this particular album. Though, there’s a lot that has already been said and I reckon people are tired of hearing the same critiques for the hundredth time. I want to approach this from an analyrical perspective.

I had to really sit down with the album

in order to properly listen to it because again, it was just too long and the worst part is, all the songs sound very similar. The lyricism is very clunky, as if there was no one to edit it, and I admit, I’m not a songwriter myself.

But the album reminds me of when you’re running on two hours of sleep trying to write a coherent 2500-word essay due the next day, which makes for pretty good lyrics to dissect or cringe at.

My personal favourites are: “You smoked then ate seven bars of chocolate / We declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep / Like a tattooed golden retriever” (The Tortured Poets Department). I’m still in utter disbelief that she referred to Healy as a tattooed golden retriever, given that he is racist, homophobic, and Islamophobic. Not very golden retrieveresque.

“You know how to ball, I know Aristotle / Brand new, full throttle / Touch me while your boys play Grand Theft Auto.”

(So High School)

And my absolute favourite: “Tell me something awful / Like you are a poet / Trapped inside the body of a finance guy” (I Hate It Here). I’m just thinking about all the finance bros on Hinge that will use this line.

But on a more serious note, I originally was going to discuss the whole album but after sifting through 31 monotonous songs, there was one that really spoke out to me: “But Daddy I Love Him,” but not for the reason that people really expect. The lyricism is clunky, but the lyricism in this song reveals something about Swift: she doesn’t really care about her fans.

The song “But Daddy I Love Him” is about Matty Healy. Despite Matty Healy’s long paper trail of racism, homophobia, xenophobia, Islamophobia, and all the other isms, Swift still pursued a situationship with him. She tells off her fans in “But Daddy I Love Him” claiming she’s “tired of all the bitching and moaning,” and “I don’t cater to all these vipers in empath’s clothing” because of all the backlash she received during her month-long fling with Healy. But the bigger issue here is that she knew about Healy’s past controversies and she was perfectly okay with it. And people say,

“You are the company you keep.”

She revealed that she was angry at her own fans for victimising her, despite Swift marketing herself as a victim following the Kimye incidents, and she blames them for ruining her relationship with Healy. Not a good look.

Following the release of TTPD, it’s safe to say that Swift probably needs a >

22 music

> break from releasing music and I don’t mean this in a snarky way. With the way her fanbase is built, they are constantly demanding more, more, more, and it can’t be healthy living up to constant pressure from fans who view her as a content-pumping machine rather than an actual human. Unfortunately, as a result of constant demand, the production fell short and this album felt more like an inside story, requiring listeners to know the expansive lore between Swift, Alywn, Healy and Kim Kardashian before actually

listening to it. At least with her previous albums, such as Speak Now and Red, there was enough anonymity on who the album was about to allow speculation and listener relatability. With TTPD, it simply fell short. It’s not another 1989, or Red, or Lover even. It’s just another album to be added to her discography.

“The album has been critiqued for being too long, monotonous and clunky with mediocre production”

Roots and Dances Review: A Spectacular Evening of Music from the UEA Symphony Orchestra

By Lily Taylor

Last issue, I had the pleasure of interviewing the UEA Symphony Orchestra ahead of their spring concert, “Roots and Dances.” Following on from the interview, Stuart Dunlop, Director of Music at UEA, offered me a free ticket to the show. I simply could not refuse, having been so intrigued by the passion radiating from violinist Heather Pirie, violist Amelia Fox and Stuart himself during our conversation. Therefore, on the evening of the 21st of March I made my way to the St Peter Mancroft Church, a temporary venue for the orchestra as they await the refurbishment of St Andrew’s Hall. Despite finding themselves in unfamiliar territory, the UEA Symphony Orchestra performed at an incredibly high level of expertise and gave their audience an unforgettable evening of music.

The event proved itself popular. Despite being early myself, the pews filled up fast, with many individuals eyeing the orchestral setup with excitement. The clock struck 7pm and Stuart appeared, prompting a silence from both his orchestra and the audience. Within seconds, the first few notes of Florence Price’s “The Oak” were played, building up a delicate ambiguity that already had its audience engrossed. The orchestra encapsulated the tone of this

symphonic poem perfectly, tackling complex crescendos and diminuendos with ease. The piece was met by a large round of applause at the end, proving itself to be the perfect opening number for the night.

Following on from Price’s “The Oak” was Duke Ellington’s “The River,” a ballet suite depicting the concept of spiritual rebirth. What struck me about this piece was how individual each movement was. From the smooth, swerving notes in “Meander” to the bubbly, fast-paced excitement of “Giggling Rapids,” there was an undeniable difficulty to the suite. However, the UEA Symphony Orchestra had me picturing this river every step of the way. Their ability to make me

envisage such a vivid scene through their music emphasises their acute attention to musical detail, and therefore shows how talented this group of young musicians are. Concluding the evening was none other than Leonard Bernstein’s “Symphonic Dances” from West Side Story. My favourite moments from this included the string solos during “Somewhere” that were played with a beautiful fragility, and the rambunctious energy attributed to “Mambo.” However, the best part about watching this piece being performed was seeing the smiles of so many orchestra members loving what they do. If you’re looking for community here at UEA, consider joining this joyous and talented group of people!

UK Music Festivals: What is Going Wrong?

By Lily Taylor

As the summer approaches, many of us will be donning our bucket hats and wellington boots to attend various music festivals across the UK. However, the number of festivals taking place this year has seen a significant decline. In March, The Association of Independent Festivals (AIF) announced that 21 UK festivals have confirmed cancellation, postponement or been scrapped altogether. It is predicted that the number of festival cancellations in 2024 will overtake the 2023 figures, which saw 36 festivals scrapped ahead of the summer season.

So, what is the main issue resulting in the downfall of our music festivals here in the UK? Well, the main factor is arguably the impact of the COVID-19 pandemic. It is estimated that 1 in 6 UK festivals came to an end during or after this period due to soaring costs making events economically unfeasible. In a report conducted by the AIF, they concluded that “Without intervention, it’s expected that the UK could see over 100 festivals disappear in 2024 due to rising costs. Without having had a single steady season since the pandemic in which to recover, the country’s festivals

are under more financial strain than ever.”

Festivals that have already confirmed cancellation include Gloucester’s Barn On The Farm and Cheshire’s Neighbourhood Weekender, however both have confirmed their returns in 2025. Elsewhere, Nottingham’s Splendour Festival has announced it is “taking a break in 2024,” whilst Tunes on the Bay, a new music festival expected in Swansea this year, has been postponed until 2025 too.

For other festivals, the situation is unfortunately even worse. For Herefordshire’s Nozstock, this year will be the final edition of the festival, citing “the losses incurred over COVID” as being the main factor, alongside the costof-living crisis posing severe “financial risk.” Also not returning next year is Nibley Festival, who have described their final event as “A Big Farewell Party.” According to the AIF, this is due to “rapidly rising production costs” no longer making the event possible.

With such a decrease in festival events going ahead this year, what is the AIF’s plan to sustain

A Farewell From Our Music Editor Lily

the surviving music festivals? In a report released by the AIF in February, then company announced a new campaign titled 5% for Festivals. The scheme aims to encourage the public to contact their MPs to push for a VAT reduction on festival tickets. The goal is to reduce VAT from 20% to 5% in the next three years. Fingers crossed there is hope for our festivals yet.

It would be a lie to say I wasn’t a little nervous going into this role at the start of the year. Before joining the Concrete committee, I had worked with Livewire for two years and knew nothing about what was involved in developing a newspaper. However, joining Concrete as the Music Editor has been an amazing experience for me. During my time as a section editor, I have proven to myself that I can manage quick turnarounds and write a wide variety of articles! It has also improved my interview skills – a personal highlight for me was interviewing rapper Taf Royale about his latest music.

Something I have really enjoyed about this role is reading the work other writers have submitted for my section. I would particularly like to shout out our four Concrete/Venue Co-Editors Eve, Matthew, Millie and Tee for their contributions to my section this year, which have always been up to such a high standard despite their heavy workloads!

So, for now, in the wise words of Prince, “It’s time we all reach out for something new.” However, I’m sure I will make a return next year as I embark on a broadcast journalism master’s here at UEA!

PHOTO CREDIT: UNSPLASH

PHOTO CREDIT: INNES HENRY

w/c may 13 w/c may 20

Norwich and Norfolk Festival10th-26th May – NORWICH CITY CENTRE

The much anticipated annual N&N Festival is now in full swing for the 2024 season!

“For 17 days each May, the Festival transforms our public spaces, city streets, performance venues, parks, forests and beaches, bringing people together to experience the same brilliant and inspirational events. The flagship arts festival for the East of England, our world-class programme spans music, theatre, literature, visual arts, circus, dance and free outdoor events.”

Make sure to check the N&N Festival’s website to see the full programme!

Romeo and Juliet - 14th-18th May, NORWICH THEATRE ROYAL

Northern Ballet’s production of Shakespeare’s star-crossed lovers comes to Norwich!

Under 25’s get £5 off Mon-Wed Bands A&B.

Writing Conflict in Fiction with Michael Donkor - 25th May, 10am, NATIONAL CENTRE FOR WRITING, DRAGON HALL

“Bring your characters to life and propel your story forward by learning how to create conflict in your fiction writing. Learn tips and trips from Michael Donkor, author of Hold (shortlisted for the Desmond Elliott Prize) and Grow Where They Fall.”

Tickets are £25 for students and are available on the N&N Festival website.

City of Literature Publishing Fair - 26th May, 10am-4pm, NATIONAL CENTRE FOR WRITING, DRAGON HALL

“From hardbacks to zines and everything in-between — discover the vibrant publishing culture of the East of England at our popular biannual publishing fair!

Meet the publishers, browse and purchase their work, and take part in a series of lightning talks throughout the day. The perfect Sunday event for writers, readers, editors and creators of all kinds.”

w/c may 27

Echobelly - 28th May, THE WATERFRONT

His Lordship - 28th May, NORWICH ARTS CENTRE

Toploader - 31st May, THE WATERFRONT

Ziggarettes - 31st May, VOODOO DADDYS SHOWROOM

w/c june 3

Grease - 3rd-8th June, NORWICH THEATRE ROYAL

Under 25’s get £5 off Mon-Wed Bands A-D weekday matinee and Wed and Thurs evening.

ReWork: Taylor Swift - 8th June, NORWICH PUPPET THEATRE

An evening full of music performed by talented local artists reworking Taylor Swift’s songs to their own individual style.

Student tickets are £7, available on ReWork’s website.

For some of us, our time at UEA is quickly coming to an end, so make sure when and if you can alongside your busy schedules, to take the time to explore this wonderfully vibrant city of ours, and all it has to offer <3

what’s on

PHOTO CREDIT: TSHEQUA WILLIAMS